以藝術之名—從「粉樂町」看當代藝術展演現象

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

Markets are embedded in social relations and depend on institutions that participate in defining what is valuable. This phenomenon is of specific importance for the contemporary art market, where uncertainty about artwork value is high and museums’ decisions to exhibit certain artists and provide them with symbolic recognition have a tremendous impact on economic value. Museums are not a unified entity, but multiple organisations that exhibit different artists for different reasons and have to be analysed as actors in a field of competition between organisations. The purpose of this chapter is to analyse, in the French context, whether new private art foundations converge with older public museums in determining which artists are valuable. In this study, I compared the programming of two major French public museums and two private foundations between 2018 and 2020. I used museums’ and artists’ websites to build a database of 618 artists, and latent class analysis to identify five typical types of artists. I studied museums’ programming through their portfolios to identify the share of each type of artist they exhibit. The main result of the study is that private foundations replicate, at the French level, international hierarchies that promote international stars (mostly from the United States), while public museums offer more diversified programming in terms of nationality and of levels of recognition.

Urban and Architectural Concept This proposal seeks to create a cultural space which is simultaneously a destination and a gateway. By dividing the program into two distinct Figures, rather than a monolithic subdivided block, we allow for a visual and physical connection between the city to the north and Gateway Park to the south. The different character and silhouette of each Figure, along with their verticality, creates visually arresting interstitial spaces and views of city and nature. A third object, the Shroud, connects the two Figures without fusing them into a homogeneous mass. The Museum Figure squishes up into the Canopy, while the Library Figure squishes down into the Canopy from above, creating mysterious elastic formal effects and complex sectional spaces. Despite these local deformations, the cornice height of the Canopy remains at 30M., which is the projected height of the convention center to the north, and also the height limit of the park side setback. This datum creates visual continuity with the urban corridor, helping to avoid the sense of detachment often associated with iconic buildings. The Shroud varies in thickness from razor-thin to thick to allow for structural depth as well as inhabitable spaces. A Sky Deck is located inside the thickest area, connecting the Museum and Library at mid-level and allowing views out over Gateway Park. The design of the skin is influenced by the craft of stitching and seaming in fashion design, where joints are often employed for their visual figuration rather than simply to attach pieces of fabric together. The Shroud is broken down into a patchwork of super-joints which are sometimes real and sometimes fake. Super-joints sometimes track with underlying geometry and sometimes ignore it. The result is a chunky, varied tapestry rather than a relentless panelization aesthetic. By pushing much of the building program into the ground, and lifting the rest up into the Figures and the Shroud, we are able to open up the ground and allow Gateway Park to flow into the site. This loosely bounded space is a sanctuary, featuring green space as well as protection from sun and rain in the harsh tropical environment of Taichung. This sanctuary can be shared by both buildings to host cultural events such as festivals, art markets, and book fairs.

Stained Glass Windows from Grodziec. Part I The group of 14 stained glass windows from Grodziec (Groditzberg, Groditzburg) near Zlotoryja in the Lower Silesia provides an interesting illustration of Polish and Silesian monuments’ intricate fortunes after the end of World War II. In December 1945, one part of the group (8 panels) landed in Krakow. At first, it became the property of the Wawel State Art Collection. Then, it was transferred to the Jagiellonian University Museum, by which it is still owned. In 1966, the other part of the group (6 panels) was made over to the Silesian Museum, later called the National Museum in Wroclaw. The stained glass windows from Grodziec constitute also an example of interesting issues from the fields of art conservation studies, museology and restoration. The panels of stained glass from the beginning of the 15th century, representing Madonna and Child, Man of Sorrows, Virgin Mary and the Angel Gabriel, Apostles and Saints in architectural frames, became part of the decor of the castle in Grodziec, of a baroque palace situated at the feet of the castle hill and of one pavilion in the palace park. Gradually reconstructed from the beginning of the 19th century and then, in the years 1906–1908, rebuilt in the romantic style by B. Ebhard, the castle started being decorated with stained glass windows in the 1830s. Six sections from the group have already been exhibited in the rooms of the Krakow Jagiellonian University Museum for many years. In the course of historical research, it has turned out that presumably also other stained glass windows, currently belonging to the University Museum, come from Grodziec: twelve smaller sections representing the Passion and the scene of Saint Clare’s death, from ca. 1490, made in the Nuremberg workshop of Michael Wolgemut, and two Late Renaissance stained glass windows representing the figures of Saint Peter and Saint James, from a Rhineland workshop. The fourteen medieval stained glass windows of Austrian origins, coming from Grodziec and now belonging to the Krakow and Wroclaw museums’ collections, currently undergo physical and chemical analysis. Historical research is also being conducted thanks to the financial support of the National Science Centre. Three sections from the Wroclaw collection were already preserved and restored in 2013 thanks to a grant from the Ministry of Culture and National Heritage, another three underwent conservation in the conservation studio of The Academy of Fine Arts in Krakow in the years 2013 and 2014.

Click to increase image sizeClick to decrease image size Notes1. The Febuary 2011 annual meeting of the College Art Association (CAA) in New York had an entire session organized by Patricia Mainardi dedicated to “The Crisis in Art History.” The papers were later published in a special issue of Visual Resources (27, no. 4, 2011). Yet the present crisis in the discipline can be considered just the latest of many that it has faced at least since the 1970s, when a whole new range of theoretical references, such as postcolonial theories, psychoanalysis, gender studies, and semiotics, pressured art historians to reflect about their specific approaches to art. Hans Belting's Das Ende der Kunstgeschichte? came out in 1983, centering its fire on the power structures of the field in Germany, and in 1982 the Art Journal also produced an issue on “The Crisis in the Discipline,” edited by Henri Zerner, with articles by such leading art historians as Rosalind Krauss, David Summers, and Donald Preziosi, among others. At that time, the main topic of discussion was the incorporation of new objects of study in the art historical field, such as advertisement, photography, and other aspects of visual culture, bringing art history closer to so-called visual studies. Concerns about developing a global art history, something that still resonates today, appeared at the turn of the century with important publications such as Hans Belting's Bild-Anthropologie (2001) and David Summers's Real Spaces (2003). Both books demonstrate a special interest in anthropology, which persists today with the incorporation of anthropological theories such as those of Alfred Gell and Bruno Latour, for example, into the field. Belting, Das Ende der Kunstgeschichte? (Munich: Deutscher Kunstverlag, 1983), trans. as The End of the History of Art? (Chicago: University of Chicago Press, 1987); Zerner, ed., “The Crisis in the Discipline,” special issue, Art Journal 42, no. 4 (Winter 1982); Belting, Bild-Anthropologie (Munich: W. Fink, 2001); and Summers, Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon Press, 2003).2. This was the 33rd Congress of the Comité International d’Histoire de l’Art, Germanische Nationalmuseum Nuremberg, July 15–20, 2012. Its theme, “The Challenge of the Object,” appears somewhat conservative when considered from the perspective of contemporary art. Since at least the 1960s Conceptual art has done away with the idea of a necessary connection between art and the material world, which had important political consequences as well.3. The same logic that we see here organizes much of the “globalized” art world. In a review of the exhibition Africa Remix: L’art contemporain d’un continent, presented at the Centre Georges Pompidou, Paris, in 2005, Roberto Conduru notes that African artists still need to pass through the established institutions of art in the United States or in Europe to enter the circuits of the international market and art world. “With one sole exception—Wim Botha … all of the remaining 87 artists already represented their country and/or the Continent in the Biennials that proliferate throughout the world, and also presented their work in prestigious institutions within the system of international art.” Conduru, “O mundo é uma tribo,” Concinnitas (UERJ, Rio de Janeiro), no. 8 (July 2005): 198–202.4. Although this in fact is a very significant way to approach Brazilian visual culture, it should not be exclusive. Important work has been done in the last few years on the process of the transfer and circulation of material culture within the Portuguese Empire and in Brazil. See Jens M. Baumgarten, “Transformation asiatischer Artefakte in brasilianischen Kontexten,” in Topologien des Reisens, ed. Alexandra Karentzos, Alma-Elisa Kittner, and Julia Reuter (Trier: Universität Trier, 2009), vol. 1, 178–94.5. A good example can be found in Rodrigo Naves's interpretation of Jean-Baptiste Debret's Brazilian period: “Definitely, the existence of slavery hindered once and for all any effort to transplant the classical form as truth into Brazil.” Naves, A forma difícil: Ensaios sobre arte brasileira (São Paulo: Ática,1996), 71.6. Moema is the tragic character of Frei Santa Rita Durão's epic poem Caramuru. She was the sister of Caramuru's wife, Paraguaçu, and drowned while swimming after the ship that carried Caramuru back to Europe.7. Regarding the position that Baroque occupies in Brazilian art history, it is interesting that in the first Pan-American Congress of Architects, organized in Uruguay in 1920, Alexandre de Albuquerque proposed the Baroque manner of Minas Gerais as the source for a Brazilian national style, since, according to him, Brazil did not possess a strong indigenous culture, as did other countries in South America.8. Sergio Miceli, Nacional estrangeiro (São Paulo: Companhia das Letras, 2003).9. The study of art history is relatively recent in Brazil, and by examining other contributions to the history of culture in the country, one can find elements that could help to impel art history in new directions. The writer Mario de Andrade, one of the main protagonists of Brazilian modernism, for instance, developed a genuine interest in African and Native culture and in 1936 wrote a project for the creation of an Institute for National Patrimony in which he included material and immaterial culture of the different populations in Brazil. In the same period, the sociologist Gilberto Freyre, who had studied with Franz Boas, wrote his classic book Casa-grande e senzala, in which he examines the diversity of contributions to Brazilian culture. In the 1940s and 1950s, Lina Bo Bardi organized exhibitions in Bahia and at the São Paulo Art Museum (MASP) based on her research on popular art in Brazil. See, among others, Antonio Gilberto Nogueira, Por um inventário dos sentidos: Mário de Andrade e a concepçã de patrimônio e inventário (São Paulo: Hucitec/Fapesp., 2005); Marina Grinover and Silvana Rubino, eds., Lina por escrito: Textos escolhidos de Lina Bo Bardi (São Paulo: Cosac e Naify, 2009); and Gilberto Freyre, Casa-grande e senzala (São Paulo: Global, 2003).10. “From this we conclude that … art, in its simple forms, is not necessarily expressive of purposive action, but rather based upon our reactions to forms that develop through mastery of technique.” Franz Boas, Primitive Art (New York: Dover, 1955), 62. I also think that Boas's question about what could be considered an aesthetic object in these cultures is a very important one because it definitely secures these objects as of interest for the field of art history, at the same time that it forces us to listen to the point of view of their creators.11. On Assuriní visual culture, see Regina Polo Müller, Os Assuriní do Xingu: História e arte (Campinas: Unicamp, 1993). When dealing with contemporary indigenous culture we must also acknowledge the impact of the market on how aesthetic value is assigned. This, of course, implies recognizing that indigenous culture is in fact alive and interacting with other sectors of society today, resisting the tendency of both anthropologists and art historians to imagine these cultures as if “frozen in the past.”12. Tapirage is the name given to a technique used by some indigenous groups to alter the feather colors of live birds. See Amy Buono, “Crafts of Color: Tupi Tapirage in Early Colonial Brazil,” in The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments 1400–1800, ed. Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes (Aldershot, U.K.: Ashgate Press, 2012), 8–40.13. Amy Buono, “Indigeneity as Corporeality: The ‘Tupinambization’ of the Early Modern Atlantic,” in Art and Its Histories in Brazil, by Claudia Mattos and Roberto Conduru, Issues and Debates (Los Angeles: Getty Research Institute, forthcoming).14. On this issue, see Joanne Rappaport and Tom Cummins, Beyond the Lettered City: Indigenous Literacies in the Americas (Durham, N.C.: Duke University Press, 2012), 1–26.15. As I have argued above, there cannot be one unitary Brazilian art; given the constant dynamic exchange between local and transferred material and immaterial culture, we must substitute this concept for a more dynamic view of the arts in Brazil.16. Terreiro is the name for buildings and spaces that contain Afro-Brazilian religious activities. Quilombos are historic settlements of fugitive and freed slaves that were created in remote places within the interior of Brazil.17. We must learn to see the circulation of people, ideas, and objects between different localities in Africa and Brazil as a two-way process. As Roberto Conduru notes, although slavery implied the forced migration of a much larger population from Africa to the Americas, there was also some significant immigration in the other direction. This is well documented, for example, in the development of agudá architecture in the region of the Gulf of Guinea (Togo, Benin, and Nigeria). Conduru, “Sobrevivência e invenção—conexões artísticas entre Brasil e África,” in Mattos and Conduru, Art and Its Histories in Brazil.18. The direct relation between art and art history has been pointed out numerous times. Wolfgang Kemp (“Benjamin and Aby Warburg,” Kritische Berichte, no. 3 [1975]: 5–6) has argued that Dadaist collage played an important role in the development of Aby Warburg's Mnemosyne Atlas, for instance. See Kurt W. Forster, “Die Hamburg-Amerika-Linie, oder: Warburgs Kunstwissenschaft zwischen den Kontinenten,” in Aby Warburg: Akten des internationalen Symposions, Hamburg, ed. Horst Bredekamp, Michael Diers, and Charlotte Schoell-Glass (Weinheim: Wiley-VCH Verlag), 11–37. Performance art has helped us understand the theatricality of Baroque art, and it also can be very productive in interpreting much of what we call Native art, for instance.19. Thierry Dufrêne, “Pour en finir avec le corset de la chronologie: Vers une histoire de l’art élargie qui rapproche les temps et les oeuvres,” in Théâtre du Monde, exh. cat. (Paris: FAGE, 2013), 30–37. The exhibition at La Maison Rouge, which showed the collection of eccentric Tasmanian collector David Walsh, was curated by Jean-Hubert Martin, who also used Surrealist-inspired anachronistic models to display the objects.20. Belting, Bild-Anthropologie; and Summers, Real Spaces. For a critique of David Summers's book in relation to the question of a new world art history, see James Elkins, “On David Summers's Real Spaces,” in Is Art History Global? (New York: Routledge, 2007), 41–72.Additional informationNotes on contributorsClaudia MattosClaudia Mattos, professor of art history at the University of Campinas, earned a PhD from the Freie Universität, Berlin, in 1996. She publishes on nineteenth- and twentieth-century art and is preparing one book on art and ecology in Brazil and editing another on Brazilian art history for Getty Publications [Instituto de Artes, Departamento de Artes Plásticas, Rua Elis Regina 50, Cidade Universitária Zeferino Vaz, 13083-854, Campinas, SP, Brazil, cvmattos@iar.unicamp.br].

32 мая 1773 года Герцог из любимого фильма «Тот самый Мюнхгаузен» произнес знаменательные слова: «Поразительно... Поразительно, как наш народ гармонирует с природой!» Чуть позже его почти земляк Фриденсрайх Хундертвассер заявил, что счастье – это слияние с природой. Можно счастливо жить без денег. Без природы – нельзя. Слияние с природой сыграло большую роль в жизни этого замечательного человека, и даже в его смерти. Мы уже почти научились жить без денег. Но без природы жить не хочется, да и невозможно. «Хотите об этом поговорить?» – психоаналитично спросили мы сами себя. И, как честные пациенты, ответили себе: «Да, хотим». В скудные кризисные годы наступает самое время для рефлексии, а рефлексировать лучше всего на природе. Так сложилась тема очередного фестиваля «Зодчество Восточной Сибири» (13–46, 72–81). В материалах номера продолжается сквозная тема города для людей. Не следует думать, что архитектор создает только здания. Не камень или его современные эрзацы, и даже не плющ, прикрывающий строительные неудачи, – материал зодчего. Алехандро Аравена, лауреат Притцкеровской премии за последний год (крайний, как сейчас принято говорить), утверждает: самое главное в урбанизме – общественные пространства. Переменчивые, разнообразные, наполненные смыслами и визуальными событиями, составляющие особую природу города. Как сочетать элементы этой «второй природы» с живыми биоценозами природы первой? И всегда ли можно отличить одно от другого? К 355-летию Иркутска по почетному поручению мэра ведущие иркутские архитекторы выполнили более двадцати проектов скверов, хороших и разных (92–112). Кроме будущих скверов и карманных парков Иркутска в номере представлены зеленые пространства Москвы, Токио, Лондона и Парижа, городов Германии, конкурсные проекты аквариума в Нью-Йорке и корейского конного парка. Объектом номера мы выбрали удивительный музей поля Куликова, созданный по проекту Сергея Гнедовского. Необычная архитектура роднит новый музей с тектоническим разломом земли от невыносимого напряжения в ожидании битвы (113–123). А Олег Явейн и Илья Лежава вернут нас к классику ХХ века – Мису ван дер Роэ и его уникальному диалогу с природой (162–175). Тема соотношения архитектуры и природы неисчерпаема и безгранична, как обе эти сущности. Поэтому в новом номере нашего журнала, как обычно, больше вопросов, чем ответов. Такова природа нашего журнала.

Consider two familiar images from the history of performance and body art: one from the documentation of Chris Burden’s Shoot (1971), the notorious piece for which the artist had a friend shoot him in a gallery, and Yves Klein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that “really” happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance documentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O’Dell points out, the reconstruction is bound to be fragmentary and incomplete 1 ) and evidence that it actually occurred. The connection between performance and docu ment is thus thought to be ontological, with the event preceding and authorizing its documentation. Burden’s performance documentation, as well as most of the documentation of classic performance and body art from the 1960s and 1970s, belongs to this category. Although it is generally taken for granted, the presumption of an ontological relationship between performance and document in this first model is ideological. The idea of the documentary photograph as a means of accessing the reality of the performance derives from the general ideology of photography, as described by Helen Gilbert, glossing Roland Barthes and Don Slater: “Through its trivial realism, photography creates the illusion of such exact correspondence between the signifier and the signi fied that it appears to be the perfect instance of Barthes’s ‘message without a code.’ The ‘sense of the photograph as not only representationally accurate but ontologically

During the Soviet occupation, the Lithuanian reform movement Sąjūdis encouraged the development of the uncensored press and influenced the end of the Soviet government-controlled press system. Sąjūdis published and widely disseminated illegal periodicals and onetime publications, which concentrated the Lithuanian society for the reconstruction of Lithuania’s independence in 1990. Currently, there is no research of the Sąjūdis printed heritage. The object of the present study is the Sąjūdis press of the early period (published from 13 June 1988 till 11 March 1990) purposely stored in Lithuania’s memory institutions and private collections. The aim of this study was to establish the best known and available collections. Every Sąjūdis publication became particular and nowadays needs an appropriate view and preservation in special heritage departments of the Lithuanian memory institutions. Their first tasks would be to prepare a thorough bibliography and to validate the value of these heritage collections, which have unique inscriptions and ownership marks sometimes made by famous people. The collections were investigated in three archives, eleven libraries, nine museums and two personal collections. There is no complete surviving Sąjūdis printed heritage collection. During the Sąjūdis press distribution (1988–1990), the Lithuanian libraries, museums and persons collected it actively, and later the formation of this heritage was spontaneous. The most common ways of acquisition were the national legal deposit, donations, purchase, and interchange. The dominant donors of the Sąjūdis printed heritage were the staff, members of Sąjūdis, historians, journalists and other persons who realized the necessity of keeping this heritage. The largest collection, according to the title number, belongs to the private collector (bibliophile) Žilvinas Januska. Personal collections, because of their methodical and purposeful retrospective formation, have more titles than the institutional ones. The biggest collection according to the number of copies belongs to the Vilnius University Library. However, there are 10 per cent of unidentified and lost titles of the Sąjūdis printed heritage. There is a possibility to find more of them in Lithuania. Sąjūdis press contains materials of different periods, this fact endangers this heritage to disappear if not conserving it. This heritage is in good condition in Lithuanian museums and in worse condition in the archives, especially in libraries. In conclusion, Lithuanian memory institutions have to fulfil their mission and to preserve the printed heritage of Sąjūdis better.

Introduction to<i>Visual Arts Research</i>Special Issue, Body Cam: The Visual Regimes of Policing

Book Review| April 01 2021 Review: REMEX: Toward an Art History of the NAFTA Era, by Amy Sara Carroll REMEX: Toward an Art History of the NAFTA Era, by Amy Sara Carroll. Austin: University of Texas Press, 2017. 414 pages. Print on demand $29.95, ebook $29.95. Arden Decker Arden Decker City University of New York, Graduate Center Search for other works by this author on: This Site PubMed Google Scholar Latin American and Latinx Visual Culture (2021) 3 (2): 94–96. https://doi.org/10.1525/lavc.2021.3.2.94 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Arden Decker; Review: REMEX: Toward an Art History of the NAFTA Era, by Amy Sara Carroll. Latin American and Latinx Visual Culture 1 April 2021; 3 (2): 94–96. doi: https://doi.org/10.1525/lavc.2021.3.2.94 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search REMEX: Toward an Art History of the NAFTA Era presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies. While discussions of the cultural economies on both sides of the border have been occurring over the last several decades, none has so deeply explored the NAFTA-ization of the Mexican cultural industry. Through the concept of REMEX, Carroll proposes a new history that obliterates perceived binaries of city and border, while retaining a focus on the ways in which the agreement spurred a monetization of Mexican art on the national and international stages. Instead of resorting to well-trodden discussions of the border as a site, region, and identity, the author locates the two capitals of NAFTA-era art (Mexico City and Tijuana) within a “feedback loop” of converging nationalist interests and diverging local realities. Meticulously researched and... You do not currently have access to this content.

In this innovative volume, leading scholars examine the role of the body as a primary site of political signification in seventeenth- and eighteenth-century France. Some essays focus on the sacralization of the king's body through a gendered textual and visual rhetoric. Others show how the monarchy mastered subjects' minds by disciplining the body through dance, music, drama, art, and social rituals. The last essays in the volume focus on the unmaking of the king's body and the substitution of a new, republican body. Throughout, the authors explore how race and gender shaped the body politic under the Bourbons and during the Revolution. This compelling study expands our conception of state power and demonstrates that seemingly apolitical activities like the performing arts, dress and ritual, contribute to the state's hegemony. From the Royal to the Republican Body will be an essential resource for students and scholars of history, literature, music, dance and performance studies, gender studies, art history, and political theory.

There was a long debate on the question of the study of the Book of Songs. In that debate, there were two main theses. One of them was to revere the study in the Han Dynasty and to follow the point of Mao Heng and Cheng Hsuan then affirming the value of the foreword of the Book of Songs; other one was to revere the study in Sung Dynasty and to follow the point of Chu Hsi then refute the value of the foreword of the Book of Songs. Ku Tungkao was deeply worried about this situation. He comprehend all the theses then write Mao shih ting ku and Mao shih lei shih to the use of correcting the misunderstanding and inducting. These two books plated a carrying on and inspiring role in the study of Book of songs in the early Ching Dynasty. This paper was focused on the analysis of Ku’s study of the Book of Songs to investigate its characteristics, value and influence. There are six chapters in this paper. The first chapter is the introduction to expound the intention to research, the method of research and the commentary on the resent research. The second chapter is the investigation into two points. One is the growing of the study of the Book of songs; other one is the formation of the fashion of textual study. The study of the Book of songs was diversified by these two points. Then, the most important influence of the textual research of the Book of songs was caused by its scholium. This chapter is also the investigation into the importance of the study of things and systems in the early Ching Dynasty for it caused a deep influence of the academic approach in Ching Dynasty. The third chapter is about Ku’s brief biographical sketch, study, literary works, friends and teachers so that we can know more about him and his academic research. In this chapter, the second paragraph is about these two books, Mao shih ting ku and Mao shih lei shih. Through the versions and general form of these two books, I describe Ku’s intension to write; through the analysis of these two books, I understood Ku’s writing method. The forth chapter is about Ku’s explanation method to the Book of songs. It’s about how he quoted many words of others, checked everywhere to find the main point of the Book of songs. In this chapter, I investigated Ku’s point of view about the study of Book of songs in Mao shih ting ku. The fifth chapter is the investigation of Ku’s stubby of things and systems in Mao shih lei shih. He quoted many people’s words to find the true meaning of the Book of songs. His investigation was well-knit and with original discovery. The last chapter is the conclusion. This chapter is about Ku’s research result, academic achievement in the study of the Book of songs and contribution.

About the book: This collection offers a global perspective on the changing character of cities and the increasing importance that consumer culture plays in defining their symbolic economies. Increasingly, forms of spectacle have come to shape how cities are imagined and to influence their character and the practices through which we know them - from advertising and the selling of real estate, to youth cultural consumption practices and forms of entrepreneurship, to the regeneration of urban areas under the guise of the heritage industry and the development of a WiFi landscape. Using examples of cities such as New York, Sydney, Atlantic City, Barcelona, Rio de Janeiro, Douala, Liverpool, San Juan, Berlin and Harbin this book illustrates how image and practice have become entangled in the performance of the symbolic economy. It also argues that it is not just how the urban present is being shaped in this way that is significant to the development of cities but also that a prominent feature of their development has been the spectacular imagining of the past as heritage and through regeneration. Yet the ghosts that this conjures up in practice offer us a possible form of political unsettlement and alternative ways of viewing cities that is only just beginning to be explored. Through this important collection by some of the leading analysts of consumption, cities and space Consuming the Entrepreneurial City offers a cutting edge analysis of the ways in which cities are developing and the implications this has for their future. It is essential reading for students of Urban Studies, Geography, Sociology, Cultural Studies, Heritage Studies and Anthropology.

This session explores ideas on how to apply active learning techniques when the classroom is set up in a more traditional tightly-spaced room lacking in whiteboard space and few options for moving around or reconfiguring the space. This will be an interactive session; participants can add their experiences to enhance the ideas included in this abstract. For creative teachers and cooperative students, there are multiple solutions for most academic disciplines when there is flexibility in approaches to learning. Participants will be able to describe at least 3 adaptations they can use in their courses. _______________________________________________________________ FULL ABSTRACT This session explores ideas on how to apply active learning techniques when the classroom is set up in a more traditional tightly-spaced room lacking in whiteboard space and few options for moving around or reconfiguring the space. This will be an interactive session where participants can add their experiences to enhance the ideas included in this abstract. One of the ideas comes from a blog: “Creating the Space for Engaged Discussion” by Kevin Gannon, PhD, that had ideas for solving the kind of problem. His banner photo shows him standing in front of classroom of students, a traditionally laid out space. Gannon’s idea of doing a check-in exercise that can meet the objective of: 1) getting to know the students; 2) helping them get used to hearing their own voice spoken in the classroom; and 3) teaching them to listen to each other. The technique uses a format that encourages a more open discussion. This exercise meets the objectives and takes no more than 8 minutes for 25 or 30 students. Another way to open up discussion is a variation on the well-practiced “think-pair-share” activity where students respond to an appropriate comprehensive open-ended question for each student to think about for 5 minutes; than joining with another student or a small group (shifting around the school desks in place); and then sharing with the class the ideas they and their group came up with. Other Techniques: One of the simplest solutions to the traditional classroom setting could be to move a few chairs and rotate others in place, though sometimes chairs and tables are fixed in place, so we will explore ways of handling those kinds of problems. There are other work-arounds, when considering the constraints of the classroom. When possible, students usually appreciate the option of going out onto the larger campus when doing so would enhance learning. This idea from an architecture class at the University of Minnesota, where the general education architecture course planned to meet in a different location every week. The students would propose a meeting place and the professor would select appropriate locations, scheduling them for future class meetings. They would meet in such places as the student center atrium, the entrance hall to the basketball arena, an art museum, and a park. For the architecture class, it allowed students to see how different environments served different needs; for our class, a similar plan allowed our students to experience how different environments and contexts contributed to class discussions and conflict resolution projects. At Mason, we can meet in one of the amphitheaters on a day when the weather is suitable. This is a good opportunity to work together on an experiential learning activity that requires spreading out and moving around freely. Another solution to classroom constraints is to find an alternate classroom solution on some days, such as reserving multiple study rooms in the Johnson Center on days that were convenient for students. For those sessions, breaking into small groups, so students can jump-start small-group projects. and each group successfully met their objectives.

Two new records of vertebrates in diet of garden tree boa Corallus hortulanus (Squamata: Boidae) in the northwest Amazon. Previous reports from the Brazilian Amazon demonstrated that the diet of Corallus hortulanus consist on small vertebrates. We add two new records to diet of Corallus hortulanus : a bird, Atticora fasciata and, a rodent Hylaeamys perenensis , from two localities in the Yasuni National Park in Ecuador, western Amazon. Our reports are based on field observations and the review of museum collections. We suggest that this snake present a day-night activity.